Adam Franti - Lansing Longsword Guild, Michigan
Secrets on Display - Public Fencing in the 16th Century

This lecture will focus on the change in context between the 15th century and the 16th, and examine the conceptual and physical differences depicted in fechtbucher of the 16th century. A number of treatises, written by self-described "Freifechter" appear to correlate heavily in their teaching of the longsword, a sword in one hand (typically a dusack or messer), and a staff weapon. These freifechter, unlike their earlier counterparts, seemed to aim their teachings at non-noble fencers, beginners, and citizen tradesmen of cities in the Holy Roman Empire, as opposed to men of the aristocracy or their ancillaries. Cultural changes, such as the rising prominence of fechtschulen, and the relationship between a citizen-tradesmen and the necessity of bearing arms to protect their own reputation, honor, and property in an armed society.

Jack Gassmann - Switzerland
Knights to cowboys, searching for medieval equestrian culture

Jessica Finley - Ritterkunst Fechtschule, Kansas
Visualizing Liechtenauer’s Art in Figure and Allegory

A lecture about this blog post: https://fightlongpoint.com/news/2018/11/9/visualizing-liechtenauers-art-in-figure-and-allegory

Michael Chidester - Massachusetts
Syllabus vs System: The Teachings of Johannes Liechtenauer

Johannes Liechtenauer, grand master of the oldest known German fencing tradition, recorded his art in a 358-line poem called the Zettel. To unlock the secrets of this poem, we rely on the writings of his students and associates, as well as later masters in his tradition.

This lecture consists of two parts. The first will explore the different kinds of fencing manuals that have been preserved and how they relate to and inform each other, tracing the evolution and expansion of this literary tradition from early recordings of the Zettel, through the process of glossing and commentaries on the glosses, and eventually into lavish illustrated artbooks.

The second part will take a step back from the raw instructions in those sources and consider what they tell us about the fencing system itself. It will argue that the Zettel and its glosses are not intended to describe a system of fencing in an orderly or comprehensive fashion, but rather contain a syllabus for teaching that system to students. At the same time, clues in the text can lead us toward an understanding of the shape and nature of the system or method of fighting that underlies that syllabus, and suggest ways in which we can escape the trap of "fencing according to the lessons".

Nathan Clough - The Oakeshott Institute, Minnesota
A sword in hand: a presentation of Ewart Oakeshott's personal collection of European swords

This lecture is actually a hands-on introduction to some fo the historic swords from the Oakeshott collection.  Dr. Clough will present each sword, lecturing on its provenance, form, and distinguishing characteristics.  This will be followed by a chance for audience members to (carefully) handle the swords.  This is a rare opportunity to examine and hold original pieces spanning the last thousand years.  

An introduction to the Oakeshott Institute: our history, work, and the collection

This lecture will introduce the audience to the work of the Oakeshott Institute, including our project to digitize the personal papers of Ewart Oakeshott and our 3D artifact modeling project.  Learn how to get involved in this important work, how to become a fellow of the Institute, and how to research the collection.  


Adam Franti - Lansing Longsword Guild, Michigan
Secrets on Display - Public Fencing in the 16th Century

A Viennese Freifechter named Andre Paurnfeidt wrote a short treatise in which he re-wrote Johannes Liechtenauer's zedel to appeal to "Beginning fencers." The change from what were meant as secret, elite techniques to something that was publicly available is part of a culture change from the 15th to the 16th centuries that saw an increased emphasis on martial efficacy as a crucial aspect of public masculinity. The fechtschule, a public fencing competition between guilds of citizen tradesmen, embody many of these changes. While the fechtschulen were meant to be non-lethal, they were also, paradoxically, meant to prepare citizens to bear arms in the defense of their cities, and had overt military purposes, as well as social. The class will teach techniques and concepts new to or articulated by 16th century masters such as Paurnfeindt, Sollinger, and Meyer, and intended for use by citizen tradesmen of the Holy Roman Empire.

The class is aimed at intermediate (or above) fencers of any tradition Necessary equipment: Longsword trainer (steel preferable), Mask with back-of-the-head protection, Heavy gloves, forearm, and wrist protection is highly encouraged

Arturo Camargo - Krigerskole, Mexico
Messer before Leckuchner

In this workshop we will explore how a variety of messer techniques from some different sources such as Talhoffer, Paulus Kal, Codex Wallerstein, were presented before the great work of Johannes Leckuchner was published. We will also practice the principles to apply them, from the bind, footwork and the proper distance control.

For this class some basic knowledge on the use of the sword or the messer is needed. Equipment: Messer, or one handed sword (Steel or synthetic), or dussack. Facemask and gloves.

Paulus Kal's Messer

In this class we will explore the rather simple, but very effective, teachings of Master Paulus Kal on how to use the Messer. After going through some of the techniques illustrated in this book, we will put them in practice in some realistic scenarios so you can apply this techniques either in sparring or within a tournament.

For this class some basic knowledge on the use of the sword or the messer is needed. Equipment: Messer, or one handed sword (Steel or synthetic), or dussack. Facemask and gloves.

Bart Jongsma - Historisch Vrijvechten Nederland, Netherlands
The Windings, building blocks of all techniques

This workshop aims to place the Hangings and Windings at the center of study for any practitioner of KDF. The Hangings and Windings of the early KDF manuscripts serve as a summary of the foundational principles of movement within the system presented in these manuscripts. Often understood as simply techniques, I instead believe the Windings to be more descriptive than prescriptive; almost any technique can be described and broken down in terms of the Hangings and Windings. Understanding this phenomenon can greatly further one’s understanding of the techniques of the early KDF manuscripts, and likely historical fencing in general. To achieve this, I will walk the student through the basics of the Hangings and Windings, and the movement patterns they present when combined with other core concepts of early KDF. I will then show the presence of these movement patterns in some of the more commonly used techniques, as well as how these techniques can be broken down into their component parts, and more importantly, rebuilt and customized to suit the individual practitioner’s needs.

For this workshop, the material is mostly aimed at students of an intermediate level or above. A general understanding of the core techniques of the Liechtenauer corpus is very useful. Minimum gear required: fencing mask, preferably with back of head protection, throat guard, medium to heavy gloves, and a sparring safe steel longsword.

Bill Grandy - Virginia Academy of Fencing, Virginia
Drills for Armored Combat (No Armor Needed!)

This workshop will teach students solo drills and partner drills to develop stronger proficiency with armored combat. Whether you are a veteran combatant or a raw beginner, the drills used in this class will be structured for students to take home for continued practice. The class will use the longsword as the primary teaching tool, but students will also explore how to adapt these drills to polearms as well.

Students may wear armor if they own it, but at minimum they must have a fencing mask, gloves and longsword.

Bob Charrette - Forteza Historical Swordwork Guild, Virginia
Armizare Dagger: Hit Like a Master

Want to make your dagger attacks like a master? Then you'd better know that there's more to armizare dagger fighting than Fiore's plays. In this class we begin with a review of Fiore's dagger attacks and proceed to work with some of Fiore's less obvious instruction and how it relates to the interplay of attacks and counters. Basic familiarity with Fiore's master-scholar pedagogy structure and the at least the first four dagger remedy masters expected.

Gear: Masks and a dagger simulator (some daggers will be available for loan)

Fight like a Boar

Fiore's posta de dente di cinghiale (Boar's Tusk Guard) appears as a guard for dagger, sword, axe, and spear, but they don't always look the same. In this class we will look at why. Is there only one way to respond? The answer is to strike like a boar, but what that means can vary, spot we'll look at how the weapon at hand can inform your actions against an attack.

Gear: Masks, chest protection, and weapon simulators (a sword and dagger for sure, some spears and axes will be available for loan)

Casper Ellestad-Andersen - Aros Historical Fencing Guild, Denmark
Fighting the Buffel - A Close Combat Class

We'll lay down some ground rules for dealing with a fighter who closes aggressively, and learn how to establish our power zone and be comfortable with Ringen am Schwert. The Buffalo typically applies strong Oberhaus and closes distance quickly. Liechtenauer tells us we defeat this type of fighter with Schillhau. This class starts when our Schillhau has failed and the fights starts to turn messy, but we can learn to control that environment by making the mental switch to Ringen instead of trying to fence in grappling distance.

Full sparring gear required. Previous experience with sparring is an advantage.

Charles Lin - Capital Kunst des Fechtens, Washington D.C.
Urban Violence in Medieval Germany

In this class, we will examine several scenarios that are inspired by the legal and social norms for violence in 15-16th century German cities. Ambushes, bar fights, and altercations with the town guard - our scenarios will form a bridge between the context of violence we gather from academic historical sources, and the techniques we find in Fechtbücher of the period. We will discuss the impact of these scenarios on our interpretation of techniques, and the importance of legal and social norms in determining how weapons were used.

Required Equipment: Belt, Mask, Synthetic Rondel Dagger Trainer and/or Steel or Synthetic Messer Trainer Recommended
Experience: Familiarity with dagger or messer techniques is preferred, but not required.

Cory Winslow - Medieval European Martial Arts Guild, Virginia
Learning to Practice

This class presents an essential method for precisely learning and practicing historical techniques so that they may be masterfully implemented using Indes during fencing.

Any experience level is welcome. Students will need a longsword simulator (preferably steel)

Jack Gassmann - Goats Head, Ireland
The context of Lichtenauers teachings through scenario games

Lichtenauer’s Zettel with it’s trifecta of Blossfechten, Rossfechten and Harnessfechten was, whether nobility, mercenary or city Konstaffler aimed at medieval cavalry and it’s unique duties. We will be working hands on from period accounts taken from chronicles and biographies to reconstruct the kinds of challenges that the people practicing these arts would have been facing. From midnight raids and siegecraft to the finer aspects of mounted combat we will be seeking to gain insights into why the early Lichtenauer system is the way it is.

Skill levels These drills are suitable for all skill levels as they are partly about discovering techniques on their own
Equipment The drills can be done slowly if you want, but it’s worth having at least medium sparring gear.

Class 2

We spend lots of time on what Meyer considers learning the alphabet, so we may write words and turn words to sentences, sentences to poetry, but how do we learn to be poets? This class focuses on presenting fencers with straightforward strategic challenges, forcing creative tool-use of their technical repertoire. The games focus on restricting tactical choice and thereby forcing them to think on a larger strategic level and discover the heart of Lichtenauers system, the five words.

Skill levels These drills are suitable for all skill levels, the more skills you have the more complex the technical back and forth and more evolved the tactical solutions to the strategic problems will be.
Equipment The drills can be done with any weapons system, however gear for full speed sparring is required.

Jake Norwood - Capital Kunst des Fechtens, New Jersey
Class 1

Something Norwoody

James Reilly - Wisconsin Historical Fencing Association Kenosha-Racine, Wisconsin
Meyer's Rapier as an Extension of Liechtenauer's Art

Meyer begins his section on the rapier by proclaiming that the germans have deviated from the art of the ancient masters. He says that, the italians however have created a new weapon, which relies heavily on the techniques long forgotter. Is his rapier section, Meyer sets out to revive this lost art. The class will go over the core fundamentals of Meyer's tactical framework with the rapier, and elucidate some of the more esoteric concepts contained within the early KDF canon.

Mask, Gloves and Rapier required.

Meyer's Pole-Arms: A Battlefield Art

The Pole-Arm systems of Joachim Meyer are very deliberately designed as systems optimized for battlefield combat. Little wonder that they use the essential elements of a proven combat system as that which is found within the early KDF tradition as the basis for such a system. This class will work its way through the material in Meyer's Quarterstaff section, with a focus on sound body mechanics, the core fundamentals of Meyer's fencing theory and application in an Asymetrical system optimized for fighting in ranks.

Exploring the different contexts of Meyer

This class will be an exploration of the tactical theory underpinning the armed combat of Joachim Meyer. We will examine the basic principles of swordsmanship, and discuss how they are ever present, yet manifest themselves in differently across his weapons and the corresponding contexts in which they are used. Specifically, we will contrast the fechtschule style of fencing found in Longsword section with the self-defense/dueling style of the rapier and the Battlefield context of the Quarterstaff/Halberd.

Mask, gloves, and as many of the listed weapons as you have

Jason Cook - Exiles New England, Connecticut
Come As You Are, Fiore’s Sword in One Hand

Fiore’s use of the longsword in one hand stands out from other medieval sources and provides insight into the overall principles of his system of armizare. We’ll run through the variants of the basic guard and cover, the plays he presents, and problems in interpretation.

Experience level: general competency with a longsword.
Equipment: mask, light gloves, and sword.

Friends? You mean sparring partners! - An Introduction to Classical Pugilism

This session will introduce you to the noble art of classical pugilism from the days before the Marquess of Queensbury ruined the fun. Working from the treatises of Daniel Mendoza (1792) and Thomas Fewtrell (1790), you will be taken through basics of stance, movement, proper striking, defence, and the joys of chancery (yep, back then you could grab the opponent and throw them down in a boxing match!).

Experience level: All levels welcome.
Kit requirement: No special equipment required as we can keep drills at distance. MMA gloves, gum shield, and face mask, will allow for a bit more freedom of play.

Jay Tsulis - New York Historical Fencing Association, New York
Indes and Fühlen as One Principle

No single concept in is more important in the teachings of Johaness Liechtenauer than Fühlen—the practice of weighing and assessing the bind with your opponent. Never are the KdF treatises more dismissive of a fencer than of those who do not understand or apply Fühlen. Fühlen is inherently connected with Indes—the timing of striking “in between”, or as the opponent strikes and before the resolution of his blow—in one single concept. This class is designed to familiarize the student with the concept of Indes and Fühlen as ONE principle, explore the benefits of its implementation, and drill its application. While designed for students of intermediate level, this class will also provide students of all levels with a few simple drills to use at their own schools with little to no gear.

Full gear is requiered for this class

Jay Vail - Meyer Tallahassee, Florida

This class will cover the fundamentals of unarmed dagger defense using techniques drawn from Fiore, Talhoffer and Marozzo. If time permits we would also cover fundamentals of dagger vs. dagger combat using material derived mainly from Talhoffer and Meyer (although this could be a separate class). Also, if time and interest permits, the class could cover fundamentals of dagger vs. sword.

A fencing mask and a dagger-like object would be required. A longsword may also be needed. Regardless of the material covered, there will be an opportunity for participants to take part in a freeplay-like exercise to see if they can apply the techniques spontaneously against a resisting opponent.


This class would focus on fundamental, core ringen techniques found in multiple texts. The class will then show how these techniques can be applied during longsword combat.

Jessica Finley - Ritterkunst Fechtschule, Kansas
Harnessfechten: Taking what you know from Bloß and making it work in armor.

All experience levels
Req: Tipped sword, heavy jacket, gorget, heavy Gloves, mask at a minimum, up to full armor if you got it.

Keith Cotter-Reilly - Atlanta Freifechter, Georgia
How to fall somewhat Safely

This class will teach the basics of breakfalling and roll outs, as seen in Japanese and European grappling arts. It will work through several strategies to stay safe while falling, and impart useful drills to continue this practice at the participants home clubs.

No experience is needed. Regular work out clothes is all that is needed for gear.

The Bind work of Joachim Meyer Longsword

To many Meyer's longsword is simply about cutting around the opponent. However, this is not the case. A large part of his work is about what to do once the bind has been made. This class shall go over several of the different options that Meyer gives us, and shine light upon the strategies he has given us to win the Bind.

Equipment: Longsword, Mask, Gloves, Jacket.

Keith Farrel - Academy of Historical Arts, Scotland
Digging for the Guldenhewe.

The Guldenhewe (or "golden strike") is a somewhat cryptic technique from the Kolner Fechtbuch, that breaks your opponent's art. However, by drawing links with other Gemainfechten ("common fencing") sources, we can perhaps work out what the Guldenhewe might be, and how to set it up and apply it during sparring. Nothing is as satisfying as digging for gold and then using it to break your opponent's art (and maybe forehead)!

Flugelhaw, Schlaudern, and Schneller.

There are some techniques that appear in the 16th century material that are quite stylistic of the Gemainfechten ("common fencing") or guild fencing approach at the time. Working with these key techniques gives us an insight into the mentality and approach to the fight, which was probably quite different from the doctrine of Liechtenauer. This lesson will examine the three techniques of the Flugelhaw, Schlaudern, and Schneller, and offer an approach to longsword fencing informed by these ideas.

Kiana Shurkin - xKDF, Maryland
Giant Slaying 101: Strategy and Tactics for Small-Framed Fighters

This workshop will provide fighters with tools to maximize the advantages of their builds when dealing with larger, taller, and more aggressive opponents. A discussion of mindset and approaches to training and conditioning will give way to an overview of drills and techniques from which participants can draw when developing individual approaches to addressing discrepancies between themselves and their opponents.

Minimum gear requirements include a mask, gloves, hard knee and elbow protection, and a feder. Full tournament kit recommended.

Beating Burn Out: How to Be a Better Teacher, Coach, and Training Partner

This workshop will include an overview of both introspective and practically applicable strategies to improve as a mentor in HEMA.  Participants will be provided with tools aimed at increasing their usefulness to fellow practitioners of all experience levels, allowing them to get the most out of training with newer students, and helping to mitigate instructor burnout.  This class can be run effectively as either a lecture or an interactive workshop depending on the preference of the event organizers.

Minimum gear requirements for the interactive class include a mask, gloves, hard knee and elbow protection, and a feder.  Full tournament kit, notebook, and pen/pencil recommended.

Kimberleigh Smithbower Roseblade - Academy of European Medieval Martial Arts, Canada

Abrazare is the foundation of Fiore's art. Everything that comes after - from dagger, to longsword, the poleaxe - all has their foundations in Abrazare. In this workshop we will look at the basic guards and footwork used in Fiore's system and explore the first five plays of Abrazare. We will look at how these five plays easily flow from one to the other and we will learn how to recognize when the opportunities to execute them present themselves in the grapple.

This workshop is to beginners- especially those new to Fiore and to abrazare. Those with experience in wrestling, ringen, or glima would do very well in this workshop even if they have no experience with Fiore's unarmed system. Equipment necessary is one's body- which most people have already!

Finding the Fight Remedy

When faced against the dagger, Fiore says to always do these five things: “take their dagger away, strike them, break their arms, bind them and throw them to the ground.” How do we know when to attempt each of these different things, depending on what the situation calls for? In this workshop, students will learn to decipher when their opponent is giving them cues that allow them to feel whether they should disarm their opponent, bind or break them, or throw them to the ground.

This workshop open to beginners, but those with some familiarity with the dagger will be an asset. Equipment required will be rondels (only one will be needed per training pair)- I can provide a few of these. Masks, gorgets, and gloves are welcome but, will not be necessary.

Kit Smith - Sweden
Silver in 5 Minutes

Or: Why principles matter.

George Silver published a book in 1599 and started to write another when he realised no one understood the first. Somethings never change. We'll run through some of the technical options out of the unfinished book as demonstration and then explore why, starting with a gentle punch in the nose. We'll be working in teams of 3, starting out with a gentle punch to the nose and working from there. An understanding of cooperation, control and consent is required from all players.

Requirements: A mask, light gloves, a steel and no heavy armour.

Boy Scout quarterstaff

An introduction to Boy Scout quarterstaff, as taught in the White Company. What happens if you pick up a stick and how to learn from it.
Silver assumes that a longsword is a staff, but sometimes it helps to learn to move with a center grip, before holding it at an end.

Equipment: None. Light gloves may be permitted to ward against splinters. An understanding of cooperation, control and consent is required from all players. Rigid staves (not rattan) will be required.

Kristian Ruokonen & Ties Kool - EHMS RY, Finland & Historisch Vrijvechten Nederland, Netherlands
Reading the fight

In this class we will look at one of the harder topics in Longsword - how to read your opponent. The class will provide basic tools on how to teach your students in a class room setting to become better assessing what your opponent is about to do

Requirements- basic knowledge of any longsword system and ability to spar safely -

Gear - full sparring gear

Ties Kool- Historisch Vrijvechten Nederland, Netherlands
The Shielhau: "structure beats strength".

In this class we will look at the Shielhau from an offensive and defensive approach. One of the key elements is proper form. Using and understanding the right structure is going to make a massive difference om your fencing. Plenty of people fail while using the right technique, simply because they don't focus enough on the correct footwork, balance and structure.

Level: beginners and up
Gear minimum: longsword, mask, gloves, throatguard
Preferred extra: full upper body gear.

German dagger

We will work with series of dagger works from various dagger manuals in the German tradition. Dagger versus unarmed and dagger versus dagger. We will go through some core mechanics that will make you a better martial artist and some techniques and counters just because they are fun

Level: beginners and up
Gear: mask, (rondel) dagger

Michael Edelson - New York Historical Fencing Association, New York
George Silver's True Times: The E=mc2 of Fencing.

This class teaches the concept of George Silver's true times, which is a description of three of the four pillars of fencing (distance, timing and pressure--the fourth, body mechanics, isn't covered in this class), and how to integrate this concept into your fencing. George Silver's true times are not particular to any one system of fighting, it is a universal concept that applies to all arts and all weapons. Understanding how these concepts are applied may greatly improve your ability to analyze the components of a fight and make better tactical decisions. The class will also feature drills that will teach you how to manipulate distance and timing, using pressure, to defeat your opponents.

All skill levels--from absolute beginners to experienced fighters to tournament champions--are welcome. Required equipment includes mask, gloves and training sword. Longswords preferred, other contemporary weapons permitted.

Patrick McCaffrey - L’Arte Della Bellica, Pennsylvania
Dagger in KDF

A look at dagger techniques presented in The Goliath Fechtbuch, the Glasgow Fechtbuch, and Meyer's "A Thorough Description of the Art of Fencing". Discussing efficacy, context, and intent of the techniques presented. This class will include at least a cursory comparison between KDF dagger and Fiore Dagger, as well as modern self-defence and application. This class will not be exploring later uses of the dagger with the Rapier. Participants are expected to have familiarity with the historical texts as well as familiarity with the expected purpose of a dagger as depicted in the source material. Training daggers will be used, and given the context in many texts, anyone who has harness is welcome to wear it for this class. This class will be about 50% discussion and 50% practical experimentation with participants.

Philippe Charlebois - Canada
Meyer is not thrusting you

Meyer is well known for forbidding the thrust in the practice of the longsword. However, one can find some thrusting actions in his art, either as a provocation to create an opening or as binding action in which Meyer stipulate that the opponent had displaced the point. In other words, if you can thrust toward him, you should not thrust him. Thus, his masterwork, der Kunst des fechtens, offers a very interesting variant of the liechtenaurian longsword.

The goal of the workshop will be to learn how ''not'' to thrust following Meyer's teaching. At first, we will work on some exercise to gain a better control of the point and on thrusting provocations found in the 1570's manual. Then, we will work on how Meyer replace the thrusting action in some basic technics of the liechtenauer tradition such as the winden. Few minutes at the end will be dedicated to light free sparring where thrust is prohibited.

Experience level required: Intermediate
Gear: longsword, light gloves and fencing mask

Footwork, weight shifting and body placement : how they relate to technics in Meyer's system

The illustrations in Meyer's Kunst des fechtens are quite revealing when it comes to footwork, weight disposition and body placement. The famous Zornhut shows a figure standing with his weight on the back foot while the body is leaning alligned with the foward leg. Along the text, one can read hints on when to move the head so the opponent can't hit you. Body placement, foot work and weight shifting are an important part of Meyer's art and the goal of the workshop will be to work on those and how, well used, they make one's fencing more efficient. Technics such as the nachreisen, feinting with the body, wrath cut, winding or doubling will be the context of such work.

The workshop will not focus on a particular weapon. Thus, any weapon taught by Meyer is welcomed as long as they practice in pair.
Experience level required: Intermediate
Gear: light gloves, mask, and a weapon taught by Meyer (longsword, dussack, arming sword (rapier), dagger, etc.
People with knee problems are advised not to take this workshop

Sean Franklin - Michigan
Movements beat Interpretations – Going from an academic exercise to useful curriculum for you and your students

A large part of HEMA discourse is about ‘interpretations’ to techniques, which are in fact simply gross facsimiles. In reality the same interpretation could be used to describe several distinct ways of engaging the body which can produce vastly different results. This class will explore thinking about developing a curriculum of fundamental martial arts movements versus a dizzying and unmanageable array of disparate interpretations. In this manner training can be more focused, students can progress through to the ‘competent in sparring’ stage much more quickly, and advanced students can expect a far higher success rate when applying more complex actions. Content will be explained mainly in the context of German Longsword, though enterprising and creative students may attempt to perform many of the activities with other weapon sets. This course will be extremely useful for both beginners looking to increase the effectiveness of their training, and experienced instructors looking to improve their curriculum and training methodologies.

Equipment: Longsword, Mask, Other weapon sets optional.

Sword Fighting vs Feder Sparring - Bridging the gap between test cutting and sparring.

The context of test cutting, competitive sparring, and earnest fighting are all very different. Doing cutting and sparring both give irreplaceable feedback to help approximate use of a sharp sword in earnest, however there still can still exist a significant gap between the two. All too often what is performed in front of a static tatami stand bares only a passing resemblance to what happens in a tournament ring. This class will focus on how to ensure that there is the maximum carry over between what martial artists learn while test cutting and what they enact during sparring. Strong cutting skills are not required, however this class is not an ‘introduction to cutting mechanics’ course, instead focusing more how to maximize the use of existing cutting skills in sparring.

Equipment: Sword of your choice

Sigmund Werndorf - Los Angeles Historical Martial Arts Club, California
How to Stay Dangerous After The Vorschlag 

In this class we will work on the ability to sustain exchanges beyond one or two blows and deliberately take actions to shape the fight in our favor. Starting with several illustrative plays from early KdF treatises we will go into a series of creatively designed sparring games who's purpose is to allow the participants to break down the actions they take in the fight. Using these games we will build a better understanding of how to remain active and threatening past the first or second actions, how to shape the fight to our strengths, and how to finish the fight more decisively. 

This class will use a collaborative workshop structure that lets all the participants work together in understanding and rebuilding our fighting techniques. As such, it is best suited for intermediate to advanced practitioners who have a reasonably developed theoretical understanding and tool box of techniques to draw upon in helping analyze both their own and others' actions within the fight. If you're not sure whether or not that includes you, come join us. No one will be turned away.  

Minimum gear requirement: Mask, gorget, heavy gloves, longsword. 
Suggested gear: Gambison or other padded jacket.

Stephen Cheney - MEMAG Bucks Historical Longsword, Pennsylvania
Applying Armored and Horseback Lessons of the Early Zettel Glosses to Unarmored Longsword

Among HEMA practitioners who focus on the longsword, the latter two portions of Liechtenauer’s zettel and their glosses are often neglected or ignored. Although one may not practice mounted or armored fencing, these teachings provide necessary insights into the overall fencing system described by the glosses. This class will explore how the theoretical information presented in the glosses of the latter sections of the zettel may be applied to our longsword studies, as well as how later uses of techniques defined in the longsword glosses can reframe the way we think about them when performing them with the long sword. The class will touch upon individual techniques, but will be more focused on big picture ideas.

This class will focus on the anonymous glosses found in Codex Danzig (MS 44.A.8) and Codex Lew (Codex I.6.4º.3), as well as the short sword gloss of Peter von Danzig zum Ingolstadt. A rudimentary knowledge of the early KdF longsword glosses (Pseudo-Peter von Danzig, Jud Lew, Ringeck) will be highly beneficial for this class, but is not required.

Tea Kew - Cambridge HEMA, United Kingdom
Taking the low road

"Whoever's war aims
Above, they become ashamed below."

Attacks to low openings are often disregarded as 'easy to beat with uberlauffen'. However, in the zettel, there is a general idea of going low when your opponent has lifted high in the engagement. This is particularly valuable to shorter fencers, who cannot always match high windings or parries which might be made by a taller opponent. This class will explore how to set up and safely employ these plays. Techniques covered will include zeckrur, durchwechseln and mutieren.

Experience: intermediate, should be familiar with basic cuts and parries and the five strikes.

Gear: mask, gloves, forearm protection, leg/groin protection.

Scottish dancing _or_ footwork in the Glasgow Ringeck

MS E.1939.65.341, the Glasgow Fechtbuch, contains the only surviving illustrations associated with a copy of Ringeck. Many of these show fencers using what appear to be large crossing steps, quite at odds with some of the conventional wisdom about effective fencing footwork. This class will explore what the artist may have been trying to convey in these pictures, by considering possible interpretations of the plays depicted. Techniques covered will include twer, schiel, absetzen and zucken.

Experience: intermediate to advanced, fencers should be familiar with most early L. plays.

Gear: Mask, gloves, gorget and chest protector or jacket.

Travis Mayott - Maryland Kunst des Fechtens, Maryland
Liechtenauer's Left Foot

An in-depth look at the applications of the oft-repeated but largely unexplained instruction to "set the left foot forward" drawn from the Zettel and associated gloss by Pseudo-Peter von Danzig and both the associated mechanical benefits provided by leftwards positioning and a tactical framework for determining Vor to act safely. Course will scale from theoretical discussion up through half-speed partnered drilling.

Minimum Gear:
Feder (or synthetic) longsword, Gloves, Mask, Jacket, Gorget

Tristan Zukowski - New York Historical Fencing Association, New York
Introduction to Test-Cutting with the Longsword

Or, Cutting tatami for feedback on, and validation of, technique.
Note: This class requires an additional fee and will be available on the Store page soon

This workshop will begin with an overview on the methodology of test-cutting as well as a brief lecture on the mechanics of effective cutting, progress to basic group exercises to explore these mechanics, and culminate with individual attention and feedback given to the student as they cut tatami targets. Descending diagonal cuts (i.e. Oberhau / fendente) will be the primary focus, as the principles employed there can later be extrapolated to all other cuts. Those with more experience will also be given an opportunity to examine other strikes in their chosen system. For students with little or no experience with test-cutting.

Equipment necessary: blunt sword is needed and your own sharp sword is recommended but optional

Intermediate Test-Cutting with the Longsword
Or, Methods of increasing complexity in test-cutting practice while maintaining martial applicability.
Note: This class requires an additional fee and will be available on the Store page soon

This workshop is designed for those who have experience test-cutting and are confident in their fundamentals. It will begin with an exploration of different methods of both increasing the challenge of basic test cutting, as well as giving due consideration to combative realities, including distance management, contingencies for failure, and what the practitioner is meant to get out of “double cuts” beyond bragging rights. The workshop will culminate in individual attention and feedback given to the student as they cut tatami targets. For intermediate to advanced practitioners.

Equipment necessary: blunt sword is needed and your own sharp sword is recommended but optional

Bill Frisbee - New Hampshire KDF, Massachusetts
The Art of Fighting in Harness

Bring your armour, as much as you can, you are going to need it. Especially important is your helm.

This class will run thru the importance of the fitment of armour, including the proper use of underclothing and the soft kit while wearing armour and why a proper fitting harness is vital to your art. We will discuss why an arming doublet is so important, why linen and silk are worn and why making sure this is your starting point is so important to a person in armour.

As the class progresses we will work into understanding human physiology while wearing armour and how to prepare our body for the impact armour makes on it while fighting and while at rest. We will also discuss the preparation of the mind and how it works with the physical body.

The class will finish with instruction on the utilization of the primary weapons used in Harnischfechten (sword, dagger, spear and poleaxe), the differences from Blossfechten, and how to practice safely with these weapons when unarmoured.